Saturday, March 31, 2012

Elisabeth Moss: 'My work is the love of my life.' Photograph: Richard Saker

LIFE AND STYLE

Q&A: Elisabeth Moss

'I tend to fall in love a little bit too easily'

Rosanna Greenstreet
Saturday 31 March 2012 00.10 BST

Elisabeth Moss, 29, was born in California and began acting as a child. Between 1999 and 2006, she played Zoey Bartlet in the television drama The West Wing. In 2007, she was cast as Peggy Olson in the first series of Mad Men, a role for which she has since been nominated for Emmy and Golden Globe awards. In 2008, she made her Broadway debut in Speed-The-Plough, and last year she starred in the West End in The Children's Hour. Mad Men Season 5 airs on Tuesdays on Sky Atlantic.

Elisabeth Moss

When were you happiest?

Whenever I'm with my mum and brother. We have family dinners every Sunday – it's become quite the tradition.

What is your greatest fear?

I am lucky enough to have a job I am passionate about, so my greatest fear would be not being able to do that.

What is your earliest memory?

Going out into the backyard of my home in LA and pretending to build a vegetable garden with sticks and rocks. I must have been five.

Which living person do you most admire?

This is kind of cheesy, but my mum.

What is the trait you most deplore in yourself?

I can be a bit quick to anger.

What is the trait you most deplore in others?

A lack of a sense of humour.

Property aside, what's the most expensive thing you've bought?

Vacations.

What makes you unhappy?

Not getting enough sleep.

What is your most unappealing habit?

One that I can't tell you about.

To whom would you most like to say sorry, and why?

To a really good girlfriend with whom I lost touch when I was little. I would love to see her again.

What is your favourite smell?

Jasmine. I grew up in Los Angeles, in the hills, and there was always jasmine growing, so I love the smell.

I love the art deco period – the jewellery, the clothes, the music – so I would go back to some 1930s jazz club in New York City.How do you relax? I am big fan of getting a box set and watching the entire show in two or three weeks. I am watching The Sopranos at the moment.

What is the closest you've come to death?

When I was little, I was on a lake and got caught underneath a rowing boat. That was pretty scary.

What song would you like played at your funeral?

Whatever the person who loves me most wants to hear.

Where would you most like to be right now?

I am filming a Jane Campion mini-series called Top Of The Lake in New Zealand and I am sitting on a balcony in Queenstown, looking out at a stunning lake with mountains surrounding me. So I don't want to be anywhere but here.

Alex Preston was born in 1979. He lives in London with his wife and two children. His first novel, This Bleeding City, was published in 2010. His second, The Revelations, is published this month by Faber and Faber. He also writes reviews for the Observer and the New Statesman and a regular panellist on the BBC Review. He tweets as @ahmpreston.

" Steady, plodding relationships are not the stuff of great literature. As we all know, happiness writes white. Friction, fissures, flaws – love stories take their energy from impediments, they thrive under the heat of conflict. The same goes for belief. Quiet, placid faith fails to stir us. It's the dark night of the soul that we want in our fiction, the adolescent torment of Salinger's Franny or the guilt-ravaged Bendrix coming reluctantly to God in The End of the Affair.

"In previous centuries authors would have presupposed both faith and familiarity with the scriptures in their audience, but now religion has withered in the bright glare of science (at least in Britain), and our churches are increasingly Larkin's 'accoutred frowsty barn[s]'. Yet we still, some of us, feel the God-shaped hole, and courses and cults have sprung up to cater to those looking for meaning disenchanted world.

"I have always been fascinated by the outer reaches of religious experience, by the titanium-plated smiles of the born-again, by the visitations and mass-hysteria of Christian evangelicals. It's not only the secrecy and intrigue of those closed worlds; it's the way their members seem to have found an answer to so many of life's great questions. Frankly I'm envious. So when I read and write about believers, it's partly that I'm trying to find an authentic way into what they've got. So far I've not had much luck. Perhaps this is why it's characters in books who struggle with, rather than revel in, their faith who attract me.

"The four young friends in The Revelations all believe, but their conviction is tested to breaking point by the tragedy that unfolds over the course of a weekend religious retreat. Doubt stalks their every footstep, the charismatic priest who leads them suffers his own crisis of faith; that some of them are still believers at the end of the book is a kind of miracle."

Marcus and Abby Glass, two of the heroes of The Revelations, take their surname from Salinger's precocious family. Franny's breakdown in the second story perfectly captures the headrush of adolescent spirituality (and its resultant comedown). I have always been a little bit in love with her which is, I suppose, creepy, now I'm over 30 and she's still at college.

Alyosha is a novitiate Russian Orthodox monk, Jesus-like, compassionate but totally powerless. He clashes with his brother Ivan, a rationalist and an atheist. Alyosha isn't divorced from the real world, though; he is a realist. As Dostoevsky says: "Faith, in the realist, does not spring from the miracle. But the miracle from faith."

Literary grandees from Updike to DeLillo tried (and mostly failed) to represent the east/west cultural clash in the post-9/11 years. The most nuanced and sympathetic portrait of the experience of British Muslims comes earlier, in the form of Samad Iqbal, a devout believer attempting to fit his faith to his adopted nation. When tempted by his children's music teacher "he felt a cold thing land on his heart and knew it was the fear of his God". A character funny, touching and tragic in equal measure, through Samad Iqbal we understand the burden of the comfort of faith.

A high-ranking Freemason who suffers an extraordinary theophanic episode when the god Jahbulon is revealed to him in a vision, Sir William Gull uses the prostitutes he kills in the East End of London to satisfy an ancient religious blood rite. The image of the future in which a vast City skyscraper rears up above the crazed royal physician seems strikingly relevant as we survey the wreckage of the post-crash financial system: Gull's mystical cult seeks to perpetuate male dominance of society. Written at the start of the bubble that just burst, testosterone-fuelled derivatives traders were the offspring of Sir William Gull's gruesome satanic rituals.

A Marxist Jesuit practicing a kind of religious fascism, Naphtha is one half of the dialectic duo that will bring Hans Castorp to his Bildung. The dark mirror of Settembrini's rational humanism, for Naphtha piety and cruelty are inseparable. Naphtha struggles with his inability to achieve the "graveyard peace" which he sees on the faces of his fellow believers. His death, like his life, is shockingly uncompromising.

Brought up by a fundamentalist father from the Plymouth Brethren, Oscar sees "God's hand everywhere about", whether in gambling dens, at the racecourse or in the fate that brings him to Lucinda. "Our whole faith is a wager," he tells her. "We bet that there is a God. We bet our life on it."

A Chilean priest and member of Opus Dei, Lacroix is the narrator of this deathbed novella of religious compromise and hypocrisy. A priest for the ease of lifestyle it offers, Lacroix's real calling is literature. He meets Pablo Neruda and Ernst Jünger, gives lessons in Marxist theory to General Pinochet, and then, in a brutal final scene, realises that Santiago's principal literary salon has been held above a torture chamber. As he slips towards death, a hesitant truth begins to reveal itself …

Esti is the barren, lesbian wife of an Orthodox Jew, Dovid. Although only a foil (and lover) to the ballsy heroine, Ronit, this frail, silent character carries the heart of the novel with her. Esti is trapped with a paunchy, neurotic husband she doesn't love by her devotion to her religious belief. A book about a world that is at once bafflingly alien and surprisingly familiar.

While his lover Sarah's faith is stronger, Bendrix's tentative, stumbling epiphany brings the novel to its breathtaking end. Greene pits the jealous lover against a jealous God; there will only ever be one winner. Bendrix's lament of "I hate You as though You exist" finally, reluctantly, becomes a prayer: "O God, You've done enough, You've robbed me of enough, I'm too tired and old to learn to love, leave me alone for ever."

Kempe's autobiography, dictated to an amanuensis, is the occasionally hilarious record of her attempts to relive Jesus's life. Her visions are full of male genitalia and gore, but they are also surprisingly touching (particularly the scene in which she makes a hot drink for the Virgin Mary to comfort her after the crucifixion). We read of Kempe's meeting with that other great medieval mystic, Julian of Norwich. Julian's Revelation of Divine Love is more spiritual and pious; The Book of Margery Kempe is more fun.

Thursday, March 22, 2012

When I was in third grade and had just moved to America from England, I used to sit by this big brick wall every day at lunch and read. I didn't have any friends because all the kids thought my accent was weird, so I took solace in sitting by that wall and reading for an hour. There were many times that kids would come up to me and taunt me with "Say something, let's hear your voice, say something" and that scarred me and made me really shy. Maybe part of the reason I can't remember a lot about what I read or what I favored in books when I was little is because I associate it with a really awful time in my life when I was constantly picked on by American children.

I got over being shy, but I never dropped the habit of reading books. In a way, I think it was the books that helped me not be shy. Original, I know. I saw in them characters who were smart, interesting, weird, and somewhat manic like me, and I knew that I could take charge of my life like they had. It’s probably not surprising that I also wanted to be an actress for several years. “Hey, change yourself. Just pretend.” My experience with reading as a shy, heavily freckled and portly child was the same as when someone sees those Thor movies or The Hulk and immediately gets P90x delivered to their homes. I would read Matilda or The Secret Garden or A Wrinkle In Time and they were my P90X. I didn’t have to be a shy weird girl with a British accent anymore. There were people in this world for me and I could just pretend to be them. And if I couldn’t, there would be a Miss Honey to help me through.

Weirdly enough, I did sort of have a Miss Honey when I was in third grade. I had this teacher named Miss Rose (all third grade teachers had names taken from an Anthropologie catalog) who really took a liking to me because I knew what the word “vicissitudes” meant. I don’t know how I knew it, but it was pretty symbolic that of all words above my age bracket that I could know, it was one that represented an unfortunate change in circumstance, exactly what I saw as my falling out of favor with children my age once I moved from the UK to America. Anyway, Miss Rose tried to give me free therapy when she should have been teaching me cursive, and I shunned her much as I did my real therapist. All I needed to get me by was a dose of truth from an empowered girl character between the pages of a library book. And lucky for me, I’d found my soulmate.

by sandro castelli

Anne Frank and I had a lot in common. We had both been exiled, felt weird, and were highly perceptive while also being dumb and a little too big for our britches. She understood what I was going through, even as far as not knowing about sexuality, which I didn’t formally discover until my sophomore year in college. Her diary was my greatest inspiration to begin writing, and I can’t erase this thought from my mind fast enough, but basically as a child I thought, “Well, if that girl wrote and got famous off of it, so should I.” Yeah, I know. Now you have to deal with it, too.

In England in third grade, you study the Holocaust because the British don’t make allowances for sensitivity. We also would memorialize May Day every year by dressing up in traditional WWII garb, standing on chairs in a line outside of my primary school, and singing “You Are My Sunshine” to the tilt. The British treat their children like miniature adults with fully formed emotional response systems. When we learned about the Holocaust, I started naming my journals. I tried for “Missy” but thought that sounded too similar to “Kitty,” Anne Frank’s diary, so I changed it to “Kat.” I was a genius.

After moving to America and realizing that not only had no one in my age group heard of Anne Frank, they did not know about the Holocaust (I grew up in a very Irish/Italian neighborhood), I was distraught. But also secretly pleased. Anne Frank represented the “vicissitudes” of my cultural collateral. I not only knew big words, I knew big ideas, and my accent could no longer hold me back.

Well, it turns out it could. I continued to be mocked and disliked, especially because I grew boobs and got my period at ten, making me a verifiable leper. In times of trouble, I turned to Anne (who overcame the largest adversity I could imagine) and Mary Lennox inThe Secret Garden, who despite her awful brattiness, actually sort of healed people. I used their successes as not only an example of what my successes should be like, but I think I started to believe that I’d also done those things. Like all horribly insecure and self-aware children, I acted smarter, more together, and more aloof than I really was, but it got me through years of turmoil with the underlings of the American school system. Unfortunately, I still haven’t grown out of it.

Dayna Evans is the senior contributor to This Recording. She is a writer living in Los Angeles.

Tuesday, March 20, 2012

It was easier to like people immediately after sex. There was something agreeable about the way they lay there half under the rumpled sheets.

I was softer then, too. Even if I hadn’t been fond of them before, I could have agreed to marry anyone in the five minutes after sleeping with them.

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It turned out if you told someone you’d like them more after sleeping with them, they’d often sleep with you just to see if you were bluffing. No one’s called my bluff so far, but I haven’t tried as hard as I might have. There are better places to route your energy, even if I haven’t found all of them yet.

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Earlier, when I was young enough to get away with it, my line had been, “I don’t know whether to punch you or kiss you right now,” although I always went with the latter, mainly because my small stature made the former unwise. Eventually word of this got around and the hint of a threat, which among the boys I favored often seemed to be an aphrodisiac, lost its powers.

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Here’s a conversation I had after sex once.

“You looked like you were getting stabbed.”

"But in a good way?"

"Is there a good way to get stabbed?"

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“Don’t make it easy for them,” I was told, but resisting the impulse to make it easy was the hard part for me. “Sometimes you know what you want…” I’d counter, but determining what exactly you want can be more difficult than simply aligning your desires with someone else’s.

I don’t mean to imply that isn’t pleasurable in its own way.

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by sophie calle

Here’s a different conversation I had after sex once.

“I prefer men who hate all women a little bit to those who love them universally.”

I guess it wasn’t a conversation because he didn’t reply.

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Up until a certain point, when they asked something it was never just a question, it was also a request, and the answer always had to be a performance: an audience-targeted rendering of who you were. Performative people enjoy this part, but they can’t bring themselves to move on from it. Non-performative people also enjoy this part, but usually can’t wait to move on from it. For a long time I was deeply mistaken as to which of these types I was.

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Someone asked me not to talk about my boyfriend while we were in bed together, which seemed like a fair request. Months later I made the same error with the same person and quickly apologized, although by then I felt that since they now had me in common, it didn’t seem so crazy to mention one to the other, to associate the two out loud as I did in my head. But even the most detached people want to feel, in that one moment, the opposite of who they are, which is the appeal of sex in the first place.

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You can lose touch, but you can’t un-know someone. Even if you never speak again, they’re somewhere up there, their faces after, during, before: crinkles around their eyes, a fold above their lip, a pattern of perspiration on their forehead. People sometimes talk about a physical memory that lies deep in your own muscles, your own bones. But what I think of when I hear the phrase is the impressions that remain within you of someone else’s muscles.

A detail of the nearly conserved Leonardo da Vinci pupil's take of the Mona Lisa. The Prado has yet to finish conservation work on the whole painting. Photograph: Museo Nacional del Pradio Click on magnifying glass for full image

A contemporaneous copy of the world's most famous painting has been discovered by conservators at the Prado in Madrid, allowing us to see the Mona Lisa as she would probably have looked at the time.

In art historical terms, the discovery is remarkable. The Prado painting had long been thought to be one of dozens of surviving replicas of Leonardo's masterpiece, made in the 16th and 17th centuries.

But, The Art Newspaper reports, recent conservation reveals that the work was in fact painted by a pupil working alongside Leonardo.

The original painting hangs behind glass and with enormous security at the Louvre, a gallery it is unlikely to ever leave. There is also no prospect of it being cleaned in the forseeable future, meaning crowds view a work that, although undeniably beautiful, has several layers of old, cracked varnish.

This newly discovered work – found under black overpaint – allows the viewer to see a much fresher version of the captivating young woman, generally acknowledged to be Lisa Gherardini, the wife of the Florentine cloth merchant Francesco del Giocondo.

The Prado said the restoration had been carried out over the past few months in preparation for an exhibition at the Louvre in March.

Details of the discovery were revealed at a recent Leonardo symposium of experts at the National Gallery in London, which is how the story emerged, a spokeswoman said, adding that there was more conservation work needed and that the painting would not be revealed in its full glory for around three weeks.

"There is much more to see. The process of conservation is still going on, we have not finished."

Saturday, March 10, 2012

A writer whose ouevre I have admired for a long time is James Baldwin, who was a brilliant, often controversial , novelist, poet, playewright and essayist. He was also a fierce crusader for equal rights, political thinker and black activist, friend to many. black and white, American, French and British. His books such as 'The Fire Next Time ,' 'Go Tellit on the Mountain' and 'Giovanni's Room ' have become modern classics. He was born in New York in 1924. Here he found his first public success as a lay preacher. His essays and stories began getting published in New York's leading intellectual journals.

By 1948, however he was living in poverty in Paris, where he had gone to escape American racism and homophobia, but in a strange twist it was in France that he discovered his American identity.When he felt he could no longer ignore the problems of his own country he returned to America, where he flirted with the Black Panthers and formed a strong bond with Martin Luther King, whose death profoundly affected him.

He spent more relaxed times in Turkey where he lived and in the South of Francewhere he spent his subsequent days. Baldwin wrote the following piece in 1979 for a small Scottish magazine.Ostesibly a review of James Lincoln Collier's ' The Making of Jazz'. It follows its own beat and becomes a sort of meditation. Writen a while back so some of parts might have got lost in the passages of time, but I feel still stands strong. Enjoy.

JAMES BALDWIN

OF THE SORROW SONGS

THE CROSS OF REDEMPTION

29 July 1979

I will let the date stand: but it is a false date. My typewriter has been silent since July 6th, and the pieces of paper I placed in the typewriter on that day has been blank until this hour.
July 29th was - is - my baby sister's birthday. She is now 36 years old, is married to a beautiful cat, and they have a small son, my nephew, one of my many nephews. My baby sister was born on the day our father died: and I could not but wonder what she, or our father, or her son, my nephew, could possibly make of this compelling investigation of our lives.
It is compelling indeed, like the nightmare called history: and compelling because the author is as precise as he is deluded.
Allow me, for example, to paraphrase, and parody, one of his statements, and I am not trying to be unkind.

There has been two authentic geniuses in jazz. One of them, of course, was Louis Armstrong, the much loved entertainer, striving for acceptance. The other was a sociopath called Charlie Parker, who managed... to destroy his career- and finally himself.

Well. Then: There have been two authentic geniuses in art. One of them was, of course was Michelangelo, the much beloved court jester, striving to please the Pope. The other was amisfit named Rembrandt, who managed... to destroy his career- and finally himself.

If one can believe the first statement, there is absolutely no reason to doubt the second. Which may be why no one appears to learn anythig from history- I am beginning to suspect that no one can learn anything from the nightmare called history - these are my reasons anyway, for attempting to report on this report from such a dangerous pint of view.
I have learned a great deal from traversing, struggling with, this book. It is my life, my history, which is being examined -defined: therefore, it is my obligation to attempt to clarify the record. I do not want my nephew - or, for that matter, my swiss godson, or my Italian godson - to believe this 'comprhensive' history.
People cannot be studied from a distance. It is perfectly possible that we cannot be studied at all: God's anguish, perhaps, upon being confronted with His creation. People certainly cannot be studied from a safe distance, or from the distance which we call safety. No one is, or can be, the other: there is nothing in the other, from the depths to the heights, which is not to be found in me. Of course, it can be said that 'objectiely' speaking, I do not have the temperment of an Idi Amiin. or Somoza, or Hitler, or Bokassa. Our careers do not resemble each other, and, for that, I do hank God. Yet, I am aware, that at some point in time and space, our aspirations may have been very similar., or that had we met, at some point in time and space- atschool, say, or looking for work, or at the corner bar - we might have had every reason o think so. They are men, after all, like me; mortal, like me; and all men reflect, are mirrors for, each other. It is the most fatal of all delusions, I think, not to know this: and the root of cowardice.
For, neithr I, nor anyone else, could have known, from the beginning, what roads we would travel, what choices we wouldmake, nor what the result of these choices would be: in ourselves, in time and space, and in that nightmare we call history. Where, then, is placed the 'objective' speaker, who can speak only after, and never before, the fact? Who may, or may not, have percieved (or recieved) the truth, whatever the truth may be? What does it mean to be objective? What is meant by temperament? and how does temeramentrelate to experience? For I do not know, will never know, and neither will you, whether it is my experience which is responsible for my temperament, or my temperament which must be taken to task for my experience.
I nationam attacking, of course, the basis of the language - or perhaps the intention of the language - in which history is written - am speaking as the son of the Preacher-Man. This is exactly how the music called jazz began, and out of the same necessity: not only to redeem a history unwritten and despised, but to checkmate the European notion of the world. For until this hour, when we speak of history, we are speaking only of how Europe saw - and sees - the world.
But there is a very great deal in the world which Europe does not, or cannot, see: in the very same way that the European musical scale cannot transcribe - cannot write down, does not understand - the notes, or the price, of this music.
Now, the author's research is meticulous. Collier has had to 'hang' in many places - 'has been there', as someone predating jazz might put it: but he has not, as one of my more relentless sisters might put it, 'been there and back'.
My more relentless sister is merely, in actuality, paraphrasing, or bearing witness to , Bessie Smith: "picked up my bag, baby, and I tried it again". And so is Billie Holliday, proclaiming - not complaining - that "my man wouldn't want me no breakfast/wouldn't give me no dinner/squawked about my supper/and threw me out doors/had the nerve to lay/a matchbox on my clothes.
"I didn't, " Buillies tells us, "have so many. But I had a long, long ways to go.
Thus, Aretha Franklin demands respect: having 'stolen' the song from Otis Redding. (As Otis Redding tells it: sounding strangely delighted to declare himself the victim of this sociopathological act.) Aretha dared to 'steal' the song from Otis because not many men, of any colour, are able to make the enormous confession, the tremendous recognition, contained in try a little tenderness.
And: if you can't get no satisfaction you may find yourself boiling a bitch's brew while waiting for someone to bring me my gun! or start walking toward the weeping willow tree or ramble where you find strange fruit - black, beige, and brown - hanging just across the tracks where it's tight like that and you don't let the sun catch you crying. It is always: farewell to storyville.
For this celebrated number has only the most passing, and, in truth, impertinent, reference to the red-light districy of New Orleans, or to the politician for whom it was named: a certain Joseph Story. What a curious way to enter, briefly, history, only to be utterly obliterated by it: which is exactly what is happening to Henry Kissinger. If you think I am leaping, you are entirely right. Go back to Miles, Max, Dizzy, Yard-Bird, Billie, Coltrane: who were not, as the striking - not to say quaint - European phrase would have it, improvising: who can afford to improvise, at those prices?
By the time of FarewelltoStoryville'. and long before that time, the demolition of black quarters - for that is what they were, and are, considered - was an ireducible truth of black life. This is what Bessie Smith is telling us , in 'Back Water Blues'.This song has as much to do with the flood as 'Didn't it Rain' has to do with Noah, or as 'If I had my way' has to do with Samson and Delilah, and poor Samson's excess of hair. Or, if I may leap again, there is a song being born, somewhere, as I write, cocerning the present 'boat people', which will inform us, in tremendous detail, how ships are built. There is a dreadful music connnecting the building of ovens with the activity of contractors, the reality of businessmen ( to say nothing of business) and the reality of bankers and flags, and the European middle class, and its global progeny, and Gypsies, Jews, and soap: and profit.
The music called Jazz came into existence as an exceedingly laconic description of black circumstances: and, as a way, by describing these circumstances, of overcoming them. It was necessary that the description be laconic: the iron necessity being that the description not be overheard. Or, as the indescribably grim remnants of the European notion of the 'nation-state' would today put it, it wac absolutely necessary that the description not be ' decoded'. It has not been 'decoded', by the way, any more than the talking drum has been de-coded. I will try to tell you why.
I have said that people cannot be described from a distance. I will, now, contradict myself,and say that people can be described from a distance that they themselves haveestablished between themselves and what we must, here call life. Life comes out of music, and music comes out of life: without tusting the first, it is impossible to create the second. The rock against which the European notion of the nation-state has crashed is nothing more- and absolutely nothing less- than the question of identity. Who am I? and what am I? and what am I doing here?
This question is the very heart, and root, of the music we are discussing: and contains ( if it is possble to make the distinction) not so much a moral judgement as a precise one.

The Irish, for example, as it now, astoundingly, turns out, never had he remotest desire to become English, neither do the people of Scotland, or Wales: and one can suppose thepeople of Canada, trapped as they are between Alaska and Mexico, with only the heirs of the doctrine of Manifest Destiny between themselves and these two definitely unknown ports of call, distract themselves with the question of whether they are French or English only because their history has now allowed them the breathing space to find out what in Giod's name (!) it means to be Canadian. The Basques do not wish to be French, or Spanish, Kurds and Berbers do not wish to be Iranian, or Turkish.
If one travels from Naples, to Rome, to Torino. it can by no means be taken for granted that the nation- hammered into a nation, after all, quite recently- ever agreec, among themselves, to be that. The same is true of an egually arbitrary invention, Germany: Bavaria is not Berlin. For that matter, to e in Haifa is not at all like being in Jerusalem, and neither place resembles Nazareth. Examples abound: but , at this moment, the only nations being discussed are those which have become utiitarian but otherwise useless, Sweden, for examole, or Switzerland, which is not a nation, but a bank. There are those territories which are considered to be 'restive' (Iran, Greece) or those which are 'crucial' and 'unstable'. Peru, for the moment, is merely 'unstable', though one keeps on it a nervous eye: and though we knoe that there's a whole lot of coffe in Brazil, we don't know who's going to drink it. Brazil threatens to become. as we quite remarkably put it, one of the 'emeging' nations, like Nigeria, because those decisions, in those places, involve not merely continents, but the globe. Leaving aside the 'crafty East' - China, and Russia - there are only embarrassments, like the British colonial outpost, named for a merciless, piatinical murderer/colonizer: named Cecil Rhodes.
What, indeed, you may ask, has all this to do with 'The Making of Jazz? A book concernrd, innocently and earnestly enough with the creation of black American music.
That music is produced by, and bears witness to, one of the most obscene adventures in the history of mankind. It is a music which creates, as what we call History cannot sum up the courage to do, the response to that universal question:

Who am I? What am I doing here?

How did King Oliver, Ma Rainey, Bessie, Armstrong- a roll-call more vivid than what is called History - Bird, Dolphy, Powell, Pettford, Coltrane, Jelly Roll Morton, The Duke - or the living, again, too long a roll-call: Miss Nina Simone, Mme Mary Lou Williams, Carmen McRae, The Count, Ray, Miles, Max,- forgive me, children, for all the names I cannot call- how did they, and how do they, confront that question? and make of that captivity, a song?
For, the music began in capyivity: and is , still, absolutely, created in captivity. So much for the European vanity: which imagines with a single word, history,it controls the past, defines the present: and therefore, cannot but suppose that the future will prove to be as willing to be brought into captivity as the slaves they imagine themselves to have discovered, as the nigger they had no choice but to invent.
Be careful of inventions: the invention describes you, and will certainly betray you. Speaking as the son of the Preacher-Man, I know that it was never intended, in any way whatever, that either the Father, or the Son, should be heard. Take that any way you will:
I am trying to be precise.
If you know- as a black American must know, discovers at his mother's breast, and then, in the eyes of his father- that the world which calls itself white: and which has the further, unspeakable cowardice of calling itself free - if you will dare imagine that I, speaking now, as a black witness to the white condition, see you in a way that you cannot afford to see me: if you can see that the invention of the black condition creates the trap of the white identity; you will see what a blck man knows about a white man stems, inexorably, from the white man's description of who, and what, he takes to be the other: in this case, the black cat: me.
You watch this innocent criminal destroying your father, day by day, hour by hour - your father! despising your mother, your brothers and your sisters; and this innocent criminal will cut you down, without any mercy, if any of you dares to say a word about it.
And not only is he trying to kill you. He would also like you to be his accomplice - discreet and noiseless accomplice- in this friendly democratic, and, alas, absolutely indispensable action. I didn't, he will tell you, make the world.

You think, but you don't say, to your friendly murderer, who, sincerely, means you no harm: Well, baby, somebody better. And, in a great big hurry.

Thus, you begin to see; so, you begin to sing and dance; for ,thoseresponsible for your captivity require of you a song. You beginthe unimaginable horror of contempt and hatred; then, the horror of self-contempt, and self-hatred. What did I do? to be so black, and blue?If you survive - as, for example, the 'sociopath'. Yard-Bird, did not, as the 'junkiei', Billie Holliday, did not - you are released onto the tightrope tension of bearing in mind: every hour, every second, drunk, or sober, in sickness, or in health, those whom you must not even begin todepend on for the truth: and those to whom you must not lie.
It is hard to be black, and, therefore, officially, and lethally, despised. It is harder than to despise so many of the people who think of themselves as white: before whose blindness you present the obligatory, historical grin.
And it is harder than that, out of this devastation - Ezekiel's valley: Oh, Lord. Can these bones live? - to trust life, and to live a life, to love, and be loved.
It is out of this, and much more than this, that black American music springs. This music begins on the auction-block.
Now, whoever is unable to face this - the auction-block; whoever cannot see that the auction-block is the demolition accomplished, furthermore, at that hour of the world's history, in the name of civilization: whoever pretends that the slave mother does not weep, until this hour, for her slauhtered son, that the son does not weep for his slaughtered father: or whoever pretends that the white father did not - literally, and knowing what he was doing - hang, and burn, and castrate, his black son: whoever cannot face this can never pay the price for the beat which is the key to music, and the key to life.
Music is our witness, and our ally. The beat is the confession which recognises, changes and conquers time.
Then, history becomes a garment we can wear, and share, and not a cloak in which to hide: and time becomes a friend.